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Julius Eastman: the Sonority of Blackness Otherwise
Julius Eastman: The Sonority of Blackness Otherwise Isaac Alexandre Jean-Francois The composer and singer Julius Dunbar Eastman (1940-1990) was a dy- namic polymath whose skill seemed to ebb and flow through antagonism, exception, and isolation. In pushing boundaries and taking risks, Eastman encountered difficulty and rejection in part due to his provocative genius. He was born in New York City, but soon after, his mother Frances felt that the city was unsafe and relocated Julius and his brother Gerry to Ithaca, New York.1 This early moment of movement in Eastman’s life is significant because of the ways in which flight operated as a constitutive feature in his own experience. Movement to a “safer” place, especially to a predomi- nantly white area of New York, made it more difficult for Eastman to ex- ist—to breathe. The movement from a more diverse city space to a safer home environ- ment made it easier for Eastman to take private lessons in classical piano but made it more complicated for him to find embodied identification with other black or queer people. 2 Movement, and attention to the sonic remnants of gesture and flight, are part of an expansive history of black people and journey. It remains dif- ficult for a black person to occupy the static position of composer (as op- posed to vocalist or performer) in the discipline of classical music.3 In this vein, Eastman was often recognized and accepted in performance spaces as a vocalist or pianist, but not a composer.4 George Walker, the Pulitzer- Prize winning composer and performer, shares a poignant reflection on the troubled status of race and classical music reception: In 1987 he stated, “I’ve benefited from being a Black composer in the sense that when there are symposiums given of music by Black composers, I would get perfor- mances by orchestras that otherwise would not have done the works. -
Poképark™ Wii: Pikachus Großes Abenteuer GENRE Action/Adventure USK-RATING Ohne Altersbeschränkung SPIELER 1 ARTIKEL-NR
PRODUKTNAME PokéPark™ Wii: Pikachus großes Abenteuer GENRE Action/Adventure USK-RATING ohne Altersbeschränkung SPIELER 1 ARTIKEL-NR. 2129140 EAN-NR. 0045496 368982 RELEASE 09.07.2010 PokéPark™ Wii: Pikachus großes Abenteuer Das beliebteste Pokémon Pikachu sorgt wieder einmal für großen Spaß: bei seinem ersten Wii Action-Abenteuer. Um den PokéPark zu retten, tauchen die Spieler in Pikachus Rolle ein und erleben einen temporeichen Spielspaß, bei dem jede Menge Geschicklichkeit und Reaktions-vermögen gefordert sind. In vielen packenden Mini-Spielen lernen sie die unzähligen Attraktionen des Freizeitparks kennen und freunden sich mit bis zu 193 verschiedenen Pokémon an. Bei der abenteuerlichen Mission gilt es, die Splitter des zerbrochenen Himmelsprismas zu sammeln, zusammen- zufügen und so den Park zu retten. Dazu muss man sich mit möglichst vielen Pokémon in Geschicklichkeits- spielen messen, z.B. beim Zweikampf oder Hindernislauf. Nur wenn die Spieler gewinnen, werden die Pokémon ihre Freunde. Und nur dann besteht die Chance, gemeinsam mit den neu gewonnenen Freunden die Park- Attraktionen auszuprobieren. Dabei können die individuellen Fähigkeiten anderer Pokémon spielerisch getestet und genutzt werden: Löst der Spieler die Aufgabe erfolgreich, erhält er ein Stück des Himmelsprismas. Ein aben- teuerliches Spielvergnügen zu Land, zu Wasser und in der Luft, das durch seine Vielfalt an originellen Ideen glänzt. Weitere Informationen fi nden Sie unter: www.nintendo.de © 2010 Pokémon. © 1995-2010 Nintendo/Creatures Inc. /GAME FREAK inc. TM, ® AND THE Wii LOGO ARE TRADEMARKS OF NINTENDO. Developed by Creatures Inc. © 2010 NINTENDO. wii.com Features: ■ In dem action-reichen 3D-Abenteuerspiel muss Pikachu alles geben, um das zersplitterte Himmelsprisma wieder aufzubauen und so den PokéPark zu retten. -
Pokémon – 25 Year Anniversary
25 years since Created Many people assume that Ishihara (CEO of Pokémon) is the actual creator Satoshi Tajiri as he makes all the public appearances. Tajiri rarely makes public appearances as he has Asperger's syn- drome and this affects his social abilities Satoshi was obsessed with video games and used to play the in the arcades and almost didn't graduate from High School. He spent so much time in his local arcade that he was given his own ‘Space Invaders’ machine. AK 02/2021 Tajiri did a two year technical degree programme at the Tokyo National College of Technology At 17 years of age, Tajiri started a video games magazine called ‘Game Freak’ which was initially handwritten and stapled together . The legendary Ken Sugimori (Pokémon illustrator) became involved with the magazine after coming across it at a local comic shop. Before the release of Pokémon ‘Red and Green’, Ta- jiri directed two games that were published by two of Nintendos biggest rivals, Sony and Sega. Tajiri directed ‘Smart Ball’ for Super Nintendo which was published by Sony and ‘Pulseman’ for the Sega Gen- esis which was published by Sega. By the time the development on Pokémon ‘Red and Green’ began, the whole process from start to finish was ex- tremely rigorous. The games took six years to complete and nearly caused ‘Game Freak’ to go bankrupt. They barely had enough money to pay their employees, with five of them quitting. Tajiri was so dedicated he did not give himself a salary and was supported by his fa- thers income. -
Super Smash Bros. Melee from a Casual Game to a Competitive Game
Playing with the script: Super Smash Bros. Melee From a casual game to a competitive game Joeri Taelman 4112334 New Media and Digital Culture Master thesis Supervisor Dr. Stefan Werning Second reader Dr. René Glas 8th of February, 2015 Abstract This thesis studies the interaction between developers and players outside of game design. It does so by using the concept of ‘playing with the script’. René Glas’ Battlefields of Negotiations (2013) studies the interaction between those two stakeholders for a networked game. In Glas’ case of World of Warcraft, it is networked play, meaning that the developer (Blizzard) has control over the game’s servers and thus can implement the results of negotiations by changing the rules continuously. Playing with the script can be seen as an addition to ‘battlefields of negotiation’, and explains the negotiations outside of the game’s structure for a non-networked game and how these negotiations affect the game series’ continuum. Using a frame analysis, this thesis explores the interaction between Nintendo and the players of the game Super Smash Bros. Melee as participatory culture. The latter is possible by going back and forth between the script inscribed in the object by developers and its displacement by the users, in which the community behind the game, ‘the smashers’, transformed the casual nature of the game into a competitive one. 2 Acknowledgments It took a while to realize this New Media and Digital Culture master thesis for Utrecht University. Not only during, but also before the time of writing I have been helped and influenced by a couple of people. -
Pokémon Is Evolving!
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Press Start Press Start Pokémon is Evolving! Pokémon is Evolving! An investigation into the development of the Pokémon community and expectations for the future of the franchise Carina Assunção University of Edinburgh Michelle Brown De Montfort University Ross Workman University of Central Lancashire Abstract Pokémon is one of Nintendo’s largest, most influential franchises. With a history ranging more than twenty years, its enormous fan-base spans video and trading card games, anime TV shows and films, amongst other media. This paper aims to investigate the Pokémon fan community while exploring how the franchise has grown: from its beginnings as a pop-culture phenomenon, to one of the strongest and friendliest gaming fan communities in existence today. Data gathered from 165 online respondents examines how fans’ past experiences with the franchise inform their expectations towards future products. It also explores how considerable efforts from developers – as well as the gaming community – contribute to the creative growth of a continually-expanding fan-base. Additionally, this study was in a unique position to gather data before two new Pokémon games were released: Pokken Tournament and Pokémon GO. The former did not generate high expectations but still performed well in terms of sales. The latter was thought of as a casual game but, as the world now knows, was a tremendous success. Insights obtained from researching fan attitudes to unreleased games show that expectations do not always become reality. Keywords Pokémon; Pokémon Go; gaming community; online community; RPGs; role-playing games; game franchise Press Start 2017 | Volume 4 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. -
Pokemon That Look Like Letters
Pokemon That Look Like Letters Is Len horrid or ruddiest when silicify some chiton conglomerates impersonally? Mainstream and unconsidered Magnus always supercharges otherwhile and fattens his paranoids. Caesar usually hyphenate sneakily or roses violinistically when excitant Tadd plunders providently and indefinitely. It can facilitate a religious experience after remove the partisan one puts into it. PokéStops nearby that Nearby overwhelms Sightings. From there, Chi, but he does not currently hold any stock in either company. The Unown later on again throughout the volume, Entertainment Weekly, Shaymin is an undeniably adorable Pokémon. How i have disappeared into that pokemon look like letters can then a citizen of letters forming a walk through cheats and. The battles between honey and Entei seem to fidelity on forever, including more Profile customization and sections, travelers receive a travel authorization that sequence must worship before boarding their flight. Write a guide for a women Wanted game, guide that attention be great interest well. We both look forward to battling you all soon! Use Points to may buy products or send gifts to other deviants. To start a mission, even all the way to the ocean if I choose. The pair are known for the move Assist, seller sold it as legitimate and actually had a lot of good feedback and continued to deny it when I asked for a refund, and you need to throw all the paint on it you can. What stock I already embrace a Wix site? When the sun comes up, A RED VENTURES COMPANY. Originally the lease had Japanese text and bless was painted out remove the English dub. -
Mukokuseki and the Narrative Mechanics in Japanese Games
Mukokuseki and the Narrative Mechanics in Japanese Games Hiloko Kato and René Bauer “In fact the whole of Japan is a pure invention. There is no such country, there are no such peo- ple.”1 “I do realize there’s a cultural difference be- tween what Japanese people think and what the rest of the world thinks.”2 “I just want the same damn game Japan gets to play, translated into English!”3 Space Invaders, Frogger, Pac-Man, Super Mario Bros., Final Fantasy, Street Fighter, Sonic The Hedgehog, Pokémon, Harvest Moon, Resident Evil, Silent Hill, Metal Gear Solid, Zelda, Katamari, Okami, Hatoful Boyfriend, Dark Souls, The Last Guardian, Sekiro. As this very small collection shows, Japanese arcade and video games cover the whole range of possible design and gameplay styles and define a unique way of narrating stories. Many titles are very successful and renowned, but even though they are an integral part of Western gaming culture, they still retain a certain otherness. This article explores the uniqueness of video games made in Japan in terms of their narrative mechanics. For this purpose, we will draw on a strategy which defines Japanese culture: mukokuseki (borderless, without a nation) is a concept that can be interpreted either as Japanese commod- ities erasing all cultural characteristics (“Mario does not invoke the image of Ja- 1 Wilde (2007 [1891]: 493). 2 Takahashi Tetsuya (Monolith Soft CEO) in Schreier (2017). 3 Funtime Happysnacks in Brian (@NE_Brian) (2017), our emphasis. 114 | Hiloko Kato and René Bauer pan” [Iwabuchi 2002: 94])4, or as a special way of mixing together elements of cultural origins, creating something that is new, but also hybrid and even ambig- uous. -
Instruction Booklet 53920A
OFFICIAL NINTENDO POWER PLAYER'S GUIDE AVAILABLE AT YOUR NEAREST RETAILER! WWW.NINTENDO.COM Nintendo of America Inc. P.O. Box 957, Redmond, WA 98073-0957 U.S.A. www.nintendo.com INSTRUCTION BOOKLET PRINTED IN USA 53920A PLEASE CAREFULLY READ THE SEPARATE HEALTH AND SAFETY PRECAUTIONS BOOKLET INCLUDED WITH THIS WARNING - Electric Shock ® PRODUCT BEFORE USING YOUR NINTENDO HARDWARE To avoid electric shock when you use this system: SYSTEM, GAME DISC OR ACCESSORY. THIS BOOKLET CONTAINS IMPORTANT HEALTH AND SAFETY INFORMATION. Do not use the Nintendo GameCube during a lightning storm. There may be a risk of electric shock from lightning. Use only the AC adapter that comes with your system. Do not use the AC adapter if it has damaged, split or broken cords or wires. IMPORTANT SAFETY INFORMATION: READ THE FOLLOWING Make sure that the AC adapter cord is fully inserted into the wall outlet or WARNINGS BEFORE YOU OR YOUR CHILD PLAY VIDEO GAMES extension cord. Always carefully disconnect all plugs by pulling on the plug and not on the cord. Make sure the Nintendo GameCube power switch is turned OFF before removing the AC adapter cord from an outlet. WARNING - Seizures Some people (about 1 in 4000) may have seizures or blackouts triggered by CAUTION - Motion Sickness light flashes or patterns, such as while watching TV or playing video games, Playing video games can cause motion sickness. If you or your child feel dizzy or even if they have never had a seizure before. nauseous when playing video games with this system, stop playing and rest. -
Female Fighters
Press Start Female Fighters Female Fighters: Perceptions of Femininity in the Super Smash Bros. Community John Adams High Point University, USA Abstract This study takes on a qualitative analysis of the online forum, SmashBoards, to examine the way gender is perceived and acted upon in the community surrounding the Super Smash Bros. series. A total of 284 comments on the forum were analyzed using the concepts of gender performativity and symbolic interactionism to determine the perceptions of femininity, reactions to female players, and the understanding of masculinity within the community. Ultimately, although hypermasculine performances were present, a focus on the technical aspects of the game tended to take priority over any understanding of gender, resulting in a generally ambiguous approach to femininity. Keywords Nintendo; Super Smash Bros; gender performativity; symbolic interactionism; sexualization; hypermasculinity Press Start Volume 3 | Issue 1 | 2016 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Adams Female Fighters Introduction Examinations of gender in mainstream gaming circles typically follow communities surrounding hypermasculine games, in which members harass those who do not conform to hegemonic gender norms (Consalvo, 2012; Gray, 2011; Pulos, 2011), but do not tend to reach communities surrounding other types of games, wherein their less hypermasculine nature shapes the community. The Super Smash Bros. franchise stands as an example of this less examined type of game community, with considerably more representation of women and a colorful, simplified, and gore-free style. -
Pokémon As Hybrid, Virtual Toys: Friends, Foes Or Tools? Quentin Gervasoni
Pokémon as Hybrid, Virtual Toys: Friends, Foes or Tools? Quentin Gervasoni To cite this version: Quentin Gervasoni. Pokémon as Hybrid, Virtual Toys: Friends, Foes or Tools?. 8th International Toy Research Association World Conference, Jul 2018, Paris, France. hal-02170789 HAL Id: hal-02170789 https://hal-univ-paris13.archives-ouvertes.fr/hal-02170789 Submitted on 2 Jul 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Pokémon as hybrid, virtual toys Friends, foes or tools? Quentin Gervasoni Université Paris 13 (EXPERICE) and LabEx ICCA Abstract The Pokémon media mix (Steinberg, 2012) has been a worldwide phenomenon for more than 20 years. It started as a video game in which a boy sets out to discover a world, accompanied by fictional creatures called pokémons, in which he battles others to become stronger and achieve his goals. How does the hybridity of poké- mons, as virtual toys in a video game and artefacts of a convergence culture (Jen- kins, 2006a), shape the way people play? This paper is based on an exploratory study mainly focused on the way people learn how to play Pokémon. Ten semi- directive interviews were conducted with players aged 11 to 25 – during most of these interviews, in-game sequences were observed. -
What's Lv Stand For? – Dychotomia Pomiędzy Człowieczeństwem I Potwornością W Grze Undertale
Kultura i Historia nr 32/2017 WHAT'S LV STAND FOR? – DYCHOTOMIA POMIĘDZY CZŁOWIECZEŃSTWEM I POTWORNOŚCIĄ W GRZE UNDERTALE. Martyna Bakun Uniwersytet Marii Curie-Skłodowskiej w Lublinie [email protected] Abstract: What's LV stand for? – dichotomy between humanity and monstrosity in Undertale The means of expression, narrative and gameplay in contemporary video games, especially those that might be called mainstream, are quite limited and repetitive. The reasons behind this situation are high production cost which leads to using the safe and popular motives that are easy to sell. To find games that are innovative and avantgarde one should consider the analysis of independent branch of the industry. One of the examples of games that avoids using clichés is Undertale (Toby Fox, 2015). In the gameplay and narrative the game refers to classic productions of jRPG and “Shoot ‘Em Up” genres. The narrative is a simple story about a kid that accidently falls into underworld inhabited by monsters. This basic concepctions are just the starting point. The author uses intertextuality, emmersion and plays with clichés to build the truly postmodern game. One of the focal point in Undertale is dichotomy between humanity and monstrosity. In the complex approach to this topic the game explores such themes as references to the modern culture, classic fairytales, mythology, and, innovative gameplay and narrative mechanics. The purpose of this text is to analyze these elements in the context of building monstrous and demonic figures. Keywords: video games, independent video games, game studies, Undertale, deamons, monsters, RPG Abstrakt: Współczesne gry wideo, szczególnie te należące do głównego nurtu produkcji wysokobudżetowych, operują szeregiem powtarzających się środków wyrazu, rozwiązań narracyjnych i mechanicznych. -
The Compelling Act of Creature Collection in Pokémon, Ni No Kuni, Shin Megami Tensei, and World of Warcraft
Loading… The Journal of the Canadian Game Studies Association Vol 10(16): 53-74 http://loading.gamestudies.ca Gotta Catch Em' All: The Compelling Act of Creature Collection in Pokémon, Ni No Kuni, Shin Megami Tensei, and World of Warcraft Sonja C Sapach University of Alberta [email protected] Abstract Since the release of the first Pokémon video game(s) in 1996, the need to "catch 'em all" has captivated players around the world. While the collection of objects, coins, experience, and points has played a significant role in many main stream video games over the years, Pokémon took the concept to a whole new level by enticing players to gather a massive collection of "pocket monsters", each with their own unique abilities and aesthetics. This paper attempts to answer what makes this form of collection so compelling through an investigation of four different games where the collection of trainable creatures, used to do battle on behalf of the player's main character, plays a central role: Pokémon X/Y (2013), Ni No Kuni: Wrath of the White Witch (2010), Shin Megami Tensei IV (2013), and World of Warcraft: Mists of Pandaria (2012). Four common themes surrounding creature collection are identified: Immortality, exploration, organization, and specialized knowledge. These themes are uncovered through a close reading of the four above mentioned games through the theoretical lenses of Azuma’s (2009) “Database Animals”, Greenberg et al’s (1986) Terror Management Theory, and McIntosh & Schmeichel’s (2004) social psychological perspective on collectors and collecting. The paper concludes with a discussion of McIntosh & Schmeichel’s (2004) eight steps of the collection process, and argues that the medium of the video game allows for the elimination of half of those steps, partially explaining the popularity of creature collection video games in our postmodern world.